Day 2 of New York Fashion Week and the Jack McCollough and Lazaro Hernandez-led brand Proenza Schouler had its turn to show its latest Fall/Winter 2024 collection – least to say heads were turned. In a day and age where every brand is fighting for attention, whether it be through outrageous designs or jaw-dropping stunts, Proenza Schouler felt like a breath of fresh air, a peaceful offering that eased its way into our pupils. In case you missed it, here are the key takeaways from the show.
The girls came to play
A runway show in New York, a place famous for its fame, wouldn’t be complete without its star-studded front row. The models came in force this season, but not all there to walk the show as Jilla Kortleve and British Fashion Award Model of the Year winner Paloma Elsesser found their seated allocations amongst the crew of press and buyers. On the runway, it was Amelia Gray who graced us with her presence, wearing a side-dipped statement collar top paired with a blazer and a fishtail full-length skirt, all in black, leather bag in hand.
Nudity, not vulgarity
Proenza Schouler made use of sheer fabrics throughout the collection, keeping the selection restricted to a neutral colour palette of whites, blacks, and greys. One button-up style see-through top was paired with a drop-down dress, where shoulder straps were elongated so that the bodice fell to the model’s waist. Other dresses had sheer upper halves, while their lower counterparts were colour-blocked or, in one instance, layered with red fabric. The show of breasts here was less a sign of sensuality, and more a celebration of the female body’s natural beauty, ignoring and bypassing the antique censorship society has casted upon those with tits.
Hoods are in but not on
Hooded up in New York? Not anymore. According to Proenza Schouler, hoods should be left off-the-head. While they weren’t put to their full use, there was a huge emphasis on hoods this season – in size, they were exaggerated, and in impact, powerful. Adopting a puffed-out look, the hoods’ collars struck out as if imitating a jacket’s lapel, creating a stark juxtaposition with the elevated and asymmetrical, by force of gravity, necklines.
Free form vs structure
Throughout the collection, we saw and felt a dichotomy between free form and structure. We saw a series of straight-neckline trapezoid dresses which looked like it was effortlessly dropped onto the models, until they turned around to reveal excess fabric was pinned back. Some long-sleeved dresses took on natural drapes while on look in particular – a grey suited dress with a side-swooped collar – looked as if the wind had deformed it. Here, it seems as though McCollough and Hernandez played with the idea of the forces of nature meeting the forces of manpower which, in terms of design and fabric composition, is what fashion really is.
An overarching sense of ease
From it’s Brendahashtag-coded neutral-toned colour palette to its soundtrack fit for a meditative yoga class, the collection embodied a sense of ease. For Proenza Schouler, clothing shouldn’t come in the way of its wearer’s life, but rather accompany it and even enhance it. Low-waisted full-length skirts matched with cropped poncho-like tops manifested themselves as a modern and digestible version of ongoing trends, at times impractical. While the collection was by no means simple, it embraced the idea of simple living – that is for a New York City resident.
Main image credit: Proenza Schouler ©
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